Unraveling the Layers of King Charles III’s Official Portrait: A Depiction of Transformation and Contrast
The unveiling of King Charles III’s first official portrait this week has stirred intrigue and discussions among the public, with opinions ranging from its symbolic significance to its striking color palette. The larger-than-life painting by renowned artist Jonathan Yeo depicts the monarch from mid-thigh upwards, wearing his ceremonial Welsh Guards uniform and holding a sword. The background of the portrait is predominantly red, with the exception of the King’s hands and head.
Jonathan Yeo has shed some light on his artistic choices, explaining that the butterfly hovering over Charles’ right shoulder symbolizes the transformation of the King’s role in public life. The idea was reportedly suggested by Charles himself during their brainstorming sessions, as Yeo drew inspiration from the monarch’s thoughts and ideas. However, it is the portrait’s bold color that has captured the most attention and sparked various interpretations.
Some commentators have criticized the painting for giving off an ominous impression, with one commentator on the Royal Family’s official Instagram feed remarking that it resembles a “poster for a horror film,” while another suggested that the King appears to be “burning in hell” or “having a lot of blood on his hands.” One less serious observer even referenced one of Charles’ more embarrassing moments in the British press, likening the portrait to a “Tampax the third.”
Upon first glance, I was drawn to the subtle yet significant contrast between Charles’ opaque body and his clear gaze. The King’s regal silhouette is almost entirely fading into the background, with the blurred outline of his ceremonial uniform. This representation aligns with Charles’ transformation from a vocal and opinionated prince to a politically neutral monarch, obliged to keep his personal feelings private in the face of duty.
Most Brits have known Charles as a prince for most of their lives, and his reputation as a frustrated king-in-waiting was further solidified by his outspoken nature. He petitioned government ministers at the highest levels, expressing his opinions on various subjects through secret “black spider memos.” However, with his elevation to the throne and the constitutional duty to remain politically neutral, Charles has reigned in these impulses and followed the prescribed motions.
In his first speech to parliament as head of state last November, he was required to announce policies that likely did not sit well with him, such as granting annual North Sea oil and gas exploration licenses and a bill banning councils from implementing environmental regulations that the government deems penalizing to motorists. This was in contrast to his earlier stance on climate change, describing COP26 as the “last chance saloon.”
Besides these public engagements, Charles has been less visible in British public life than ever since his cancer diagnosis announcement in February. He has kept a low profile, blending into the background like the painting’s muted red hues. However, despite this evolution of his public persona, Charles’ private attitudes appear less flexible.
Charles has long expressed his intention to streamline the monarchy and reduce its reliance on taxpayer-funded handouts. However, this adjustment would not significantly impact Charles’ financial position, as his private wealth far outweighs that of any other member of his family. The Duchy of Cornwall, which generates the majority of Charles’ income, owns 52,449 hectares (more than 200 square miles) of land and extensive properties. Another of his hereditary estates, the Duchy of Lancaster, has reportedly amassed significant wealth by collecting financial assets from people who die without a will or next of kin.
In the last 10 years, this system has made King Charles an estimated £60 million richer. With his net worth estimated at around £1.8 billion, Charles’ financial position starkly contrasts with those members of his extended family who have historically relied on the monarch’s generosity to make ends meet.
Jonathan Yeo’s painting beautifully captures this contrast, with Charles’ body camouflaged and a little withdrawn but his gaze remaining clear and instantly recognizable. This is a depiction not only of transformation but also of the juxtaposition between Charles’ public and private realms. As Queen Camilla reportedly remarked upon seeing the portrait, “Yes, you’ve got him.”
